It was an Inside Out specialty weekend, fairly quiet and with a stream of indies films and more wide releases. The schedule is starting to recover from a strike-induced slump that, however, provided oxygen to some indies. Small films have been competing for screens with majors at arthouses from Alamo Drafthouse to Landmark since theaters
Evil Does Not Exist
Cardio is good. Sony Pictures Classics’ 4k rerelease of Run Lola Run had a healthy weekend, opening to an estimated $154k 275 screens. This the 25th anniversary of the U.S. debut of Tom Tykwer’s German experimental thriller that sees flame-haired Lola (Franka Potente) on the move in Berlin, pounding the pavement to come up with 100,000
As Neon was justly feted this weekend for a fifth consecutive Cannes Palme d’Or winner (Anora), it also had a nice showing at home with a terrific expansion for indie Babes. The feature directorial debut of Pamela Adlon jumped from a 12-screen opening last week to 590 and hit no. 9 at the domestic box
A searing historical drama set in mid-19th century Bologna, and a TIFF award winning coming-of-age story open in limited release. The fascination with female conductors continues in doc Maestra. Netflix starts a small run with Richard Linklater comedy Hit Man. A24’s I Saw TV Glow is steady on under 400 screens. Evil Does Not Exist
MGM/Imax’s The Blue Angels lands a hefty $1.3 million on just 255 domestic Imax screens from limited showtimes in the large format exhibitor’s exclusive theatrical engagement. The Paul Crowder film, with Glen Powell and Bad Robot as producers, follows the Navy’s famed demonstration flying squadron. It also “ushers in a new era for IMAX Documentaries, or Docu-busters,” the company said.
Babes by Pamela Adlon, co-written and starring Ilana Glazer, debuts in limited release with films by Hang Song-soo and Bertrand Bonello and docs on a controversial Venice Biennale, ground-breaking female clerics, and the Blue Angels Navy Squadron. A trio of festival favorites expand. While eyes now are on fare at Cannes — where Neon has
A24’s I Saw The TV Glow beamed out one of the best limited openings of the year as the specialty market shows signs of life after a dreary April. The ‘90s era trans coming-of-age horror-thriller grossed $116.3k at four theaters in New York and LA for a per screen average of $29k for Jane Schoenbrun.
It’s been a rough few weeks for indies but May is here with a handful of hopefuls looking to rev up the market — from A24’s buzzy I Saw The TV Glow to Ryusuke Hamaguchi’s Venice award-winning Evil Does Not Exist. A documentary about Anita Pallenberg featuring Scarlett Johansson hits theaters, with a French animated